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School

McGill University

Department

English (Arts)

Course

ENGL 201

Professor

Ken Borris

Semester

Fall

Description

09/04/2013
Ken Borris
Beowulf
Norton Introduction to the Middle Ages
Chaucer – General Prologue
Chaucer –
I. Origins and Reception of the Poem
–the action is set around c. 500 C.E.
–probable oral development, then in written form c. 700/800 C.E.
–probably no readers from c. 1200 to 1575 due to demise of Old English
–poorly understood even by antiquarians in the 1800s
–survived in single ms.
–former lack of literary influence, but widening 20 c. impact and popularity
Tolkien
Xena the Warrior Princess etc.
Many more heroic poems, but many manuscripts were lost or destroyed – burned libraries
II.Beowulf the Poem
1. Basic Conflict: Monstrosity vs. Civility/Hrothgar/Beowulf/Heorot
–the poem complicates this apparent opposition
–functions of the prologue at the outset:
a) historical/social context provided – fills in detail (fundamental thematic contributions) b) thematic development: building of civilization and qualities promoting civilized life (e.g., kinship ties,
cultural cohesion and reciprocation, such as gift exchange)
Barbarity vs. civility, humanity, culture
Complicates – monstrosity inhabits civility, humanity
Sets up oppositions and complicates them
Culture – qualities of kingship, good man, son, heir
Death and funeral of Shield Sheafson
Dynastic Prologue, ­ Children of Beo
Expression and development of the values
Exchange of Gifts
Deeds as favours = gifts
Honour and respect are exchanged – gifts as well
2. Role and Symbolism of Heorot: A Cultural Centre
Grendel attacks – cultural center epitome of culture (human accomplishment
Violation = break of cultural ties
Grendel – fierce spirit
Associated with mist and night
Rover of the borders – THE UNKNOWN
Being beyond the bound of civilization
Savagery
No extended social group
Darkness – trope for evil
Grendel’s ancestry – came from Cain
Line of Cain – Abel is the brother (Genesis 4)
3. Role and Symbolism of Grendel
–his characteristics and typical haunts
–his descent from Cain, and its relation to kinship and cultural bonds
violation of basic kinship ties
Heorot – founded on ties of kinship and respect
Cain is a symbol for something that would dissolve cultural bonds
Inner conflict
4. Christian Symbolism inBeowulf ?
–likely references to the New Testament expressed through characterizations and imagery: examples
–use of Christ as a heroic pattern and ideal in medieval and Renaissance literature
–how that would complement this poem’s civilizing themes
Part of symbolic order of the text
thematic structure
line 569 –
well established Christian tradition – references to the New testament not present (can be contested)
Sun – symbol of Christ – allusions to the New testament
Imagery of sleep and waking – allusion to the new testament (Mark) Imagery imbedded in Beowulf –
Grendel attacks people in Beowulf as they are sleeping
Similarities between Beowulf and Christ
One man sent by the King of Heaven
Clear analogy
(696 –)
941 – Mary analogy – (parallels Beowulf does not equal Christ – partial analogy
Beowulf’s actions have greater significance
Norton critical texts are not always reliable
After Grendel’s death 5. Role and Symbolism of Grendel’s Mother
–kinship ties, the lineage of Cain, and the poem’s representation of evil and its sources ­ serves to
epitomize violations of social ties in general
aliens from society
parallels with hell – lake
combat with the mother
success depends on the sword he picks up in the lair
0
–Anglo­Saxon figures of speech, patterns of thought, and their effects on Beowulf ’s symbolism: the
kenning, synechdoche, and metonymy
–synechdoche and the poem’s symbolic depiction of evil
6. The Combat with Grendel’s Mother
–symbolism of the sword
7. Beowulf’s Growth as Leader and the Significance of Hrothgar’s Major Speech
–the speech as an implied interpretation of Grendel and the poem
–psychomachia and the role of Grendel
8. The Combat with the Dragon
–mortality and human limitations
–symbolism of how the dragon is killed
–symbolism of the dragon and its treasure
–future prospects of the Geats 9. The Poem’s End and Human Ends
–destruction and death vs. human striving
–where is value to be found?
–role of Hrothgar’s major speech
–literary thought experiments
The Dragon has influenced CS Lewis and Tolkien
Dragon is a symbol of various things
Is the ending of Beowulf Pessimistic
Even Heorot is going to be burned
Poem does not focus on destruction
Celebrates Beowulf’s accomplishments
Memorial to Beowulf’s significance and achievements
The poem addresses issues of value
1724 – Hrothgar’s
Grendel his central adversary
Symbolic act – beheading of Grendel
Hrothgar’s position
Proleptic – anticipatory
Grendel’s death has a symbolic value in the poem as a anticipation of evil
Thought experiment
Fiction in that regard
Medieval, renaissance
Problems of belief
Sins vs. virtues
Pride Wrath
Sloth
Gluttony
Envy
Greed
Lust
Charity
Faith
Hope
Tolkien and Beowulf
essay
shift from linguistic study of Beowulf to literary aspects of the text, metaphor, symbolism, imagery
Remarkable piece of cultural inheritance
Exemplar of how great the cultural achievements of the Anglo­Saxons could be
th
Important influence on popular culture and the fantasy drama since the 19 century
3 most common figures
the kenning
compound of two words instead of another
whale­road
life­house
think about things we take for granted in a new way
what poetry is a lot about
synecdoche
sword – edge
dragon – coiled thing
metonymy
one thing applied to another with what it is commonly associated dead metaphors
the king being refered to in countries of English origin
THE CROWN
King – ring giver
Function of describing the kind in terms of one main aspect of his activitiy, providing generosity
Government of ethic
Criticizes kings that stop giving
The use of I within the poem
CHAUCER
General Prologue, The Canterbury Tales
I. The Prologue’s Framework for The Canterbury Tales
–introduces the various speakers of the tales: the main characters, who happen to meet at the Tabard Inn
as pilgrims on their way to Canterbury
–the innkeeper, “the Host,” devises the tale­telling scheme as entertainment for the journey
–the best story­teller is to win a dinner at the inn after the journey
–each pilgrim is to tell 2 tales going to Canterbury, 2 coming back, totalling about 120 stories
–only 22 are complete, with 2 more in fragments
–the criteria of judging the tales: “Tales of best sentence and most solas” (ll. 798­801)
–medieval and early modern literary esthetics
life spans were short
splendid model II. Chaucer’s Narrative Technique in The General Prologue and Canterbury Tales
–how many stand­ins for Chaucer as narrator–i.e., narrative voices–are there in the General Prologue
and thus the Tales as a whole?
–which two are most essential to the framework of thTales , and thus central?
Every character is a standing for Chaucer, as the narrator. Chaucer ventriloquices
The narrator “I” Chaucer’s own voice
Innkeeper – master of ceremonies
–The Canterbury Tales as narrative tour de force: the structure enables inclusion of a great variety of
narrative styles, genres, and projected voices
–the main narrator (the Chaucerian “I”)
a) what is he like in character?
b) what are the extent of his claims for himself and his abilities? (e.g., ll. 727­48)
c) his “Socratic” pose, pervasive irony
clutzy, innocent, naïve
not really – very perceptive
watching carefully
uses irony
d) appearance/reality; probing society
th
September 11 , 2013
Monk
Does not serve God, but serves the world – ironic
By claiming that he is less than he is (just retelling stories)
Agile and amusing
Satire
Narrator as mock naïve Witt, engaging and amusing and appealing
–how does the additional Chaucerian projection of the Host or innkeeper affect the general atmosphere of
the text? What is he like in character?
Makes the tone lighter because he turns the whole situation into a kind of a game, moreover he is very
generous, be their guide
go to Canterbury and back with them
entertains everybody with a prize at the end
conveys general sense of generosity and cheer
The moral norm
The Knight
The Parson
The Host
The narrator
The holy order
10
plus the clerk of Oxenford
almost all the people associates with the church are presented in a negative light
289­296
He is a fake
Pretentious
Acts as though he is powerful and important
Prioress
118
criticism of the Prioress when she eats
very neat, careful with her manners
suggestion of over­eating
more interested in feeding her hounds than the plight of the impoverished
Church – main avenue of charity, that is supposed to be a main concern of those involved
Her concerns are not there
She is concerned with etiquette and being elegant
Pretentious – high social position
She is supposed to be humble
She speaks French
Bad French
Chaucer would have spoken French
She doesn’t realize that her French is so bad
Shed much rather be a countess
The Friar
Has affairs with women and then marries them off to people and supplies their dowries
The Franklin
Red and white the colors of white
Interplay of the colors of someone that is beautiful
He is really old
White beard – red face from too much drinking
The Parson
The good Shepard in the gospel of John
Moral Norm Member of the Church that he really should be
The Summoner
Diseased face
He is a blackmailer
Very hot complexion
Fire red face
Lecherous
The Wife of Bath
Had 5 husbands
Good sex life in her youth
Sexual wandering
Wealthy
Red stockings
Very nice clothing
Strongly sexual – takes initiative
Does not fit into the typical female stereotype of the time
Great deal of social climbing
Women
No idealized images of women in the Canterbury tales
III. Satire The General Prologue and Canterbury Tales
–standards of judgment in satiric texts: representation of the satiric “moral norm” –which characters in Chaucer’s General Prologue may best be said to focus such a norm?
–ecclesiastical satire–i.e., satire of the Church–in The Canterbury Tales
–Chaucer’s satire of secular society
IV. Chaucer’s Irony and Satire in Practice: Examples in The General Prologue
–the Prioress, ll. 118ff
–the Friar, ll. 208ff.
–the Franklin, ll. 333ff
–the Wife of Bath, ll. 457ff
–the Parson: modelled on the parable of the good shepherd in the Gospel of John
–the Summoner, ll. 625ff
The Miller’s Prologue and Tale
1. Functions of this Prologue, and of the Various Tales’ Prologues
–provides transition between tales, in this case the Miller’s and the Knight’s
–introduces and defines their striking contrast
–provides scope for dramatic interaction between the pilgrims, thus enhancing their characterization, and
hence also the frame narrative of the Tales as a whole
–provides scope for the Chaucerian “I,” the general narrator, to comment (as he cannot so readily within a
tale as it is being told by one of the pilgrims)
2. The Miller’s Tale
–literary genre: the “fabliau”
–the fundamental comic contrast between Alisoun’s suitors –Carpenter/Nicolas: superstition, awe, credulity vs. learned cunning
–farcical consequences vs. “blessed be alway a lewed man / That nought but only his bileve can”
–relation to carnivalesque culture, in Mikhail Bakhtin’s sense
Carnivalesque Culture: The Middle Ages and Renaissance
On this aspect of Chaucer, see Jon Cooke’s essay in David Aers, ed., Medieval Literature.
1. Basic Definition of “Carnival” in This Sense
–Mikhail Bakhtin’s concept, developed in Rabelais and His World
–his definition: “the world inside out” reorganized according to laughter
–a pattern of play opposing officialdom, seriousness, ideals, authority, dogma, narrowness
–carnival thus comprises, e.g., ritual spectacles, pageants, comic shows in marketplaces, fairs, comic
verbal compositions, some forms of popular speech
–celebrates temporary liberation from prevailing “truth” and established order, including social rank and
status, etiquette, norms of “decency”
–celebrates becoming, change, renewal
–conduces expression in playful, undefined forms in flux
2. The Carnivalesque Body or “Material Bodily Principle” (Bakhtin)
–earthy, material, and positive as such
–“grotesque realism” in Bakhtin’s phrase
–“degradation” as positive: humanity brought down to earth, and flesh
–carnivalesque focus on material bodily needs and functions
–contrary to images of the body as completed, finished product, self­sufficient –presents us with “a general drama of bodily life”
3. Bakhtin on Medieval and Renaissance Carnivalesque Laughter
–the fool’s license
–utopian, radical, festive
–“the people’s unofficial truth”
–fear vs. comic grotesquerie
–Roman Saturnalia
The Wife of Bath’s Prologue and Tale
1. The Wife’s Prologue
–the size of her prologue and its implications
–basic themes of her speech:
a) defence and explanation of her 5 marriages
b) the social status of women
c) the importance of sex
–her philosophy of life, love, and sex: ll. 470ff central
–her own assessment of her nature: ll. 615ff central
–the role of her fifth husband’s book on women and marriage in this prologue
2. The Characterization of the Wife of Bath
–her positive and unfavorable aspects
–how do her own prologue and tale modify the Chaucerian narrator’s account of her in The General
Prologue ? –how Bakhtinian carnival affects interpretation of this character
3. The Wife’s Tale
–a brief chivalric romance, a genre of wonder and wish­fulfilment
–how her choice of such a tale affects her characterization
–how this tale relates to her concerns about the social status of women
–the tale’s moral content: kindness, consideration, and inner qualities vs. lineage, wealth, beauty, power
(gendered and otherwise)
–“parfit joy” and the nature of happiness in sexual relationships
–how does the wife’s “coda,” her concluding comment, relate or not relate to the ending of her tale? 09/04/2013
September 11 , 2013
Monk
Does not serve God, but serves the world – ironic
By claiming that he is less than he is (just retelling stories)
Agile and amusing
Satire
Narrator as mock naïve
Witt, engaging and amusing and appealing
–how does the additional Chaucerian projection of the Host or innkeeper affect the general atmosphere of
the text? What is he like in character?
Makes the tone lighter because he turns the whole situation into a kind of a game, moreover he is very
generous, be their guide
go to Canterbury and back with them
entertains everybody with a prize at the end
conveys general sense of generosity and cheer
The moral norm
The Knight
The Parson
The Host
The narrator
The holy order
10
plus the clerk of Oxenford
almost all the people associates with the church are presented in a negative light 09/04/2013
289­296
He is a fake
Pretentious
Acts as though he is powerful and important
Prioress
118
criticism of the Prioress
when she eats
very neat, careful with her manners
suggestion of over­eating
more interested in feeding her hounds than the plight of the impoverished
Church – main avenue of charity, that is supposed to be a main concern of those involved
Her concerns are not there
She is concerned with etiquette and being elegant
Pretentious – high social position
She is supposed to be humble
She speaks French
Bad French
Chaucer would have spoken French
She doesn’t realize that her French is so bad
Shed much rather be a countess
The Friar
Has affairs with women and then marries them off to people and supplies their dowries
The Franklin 09/04/2013
Red and white the colors of white
Interplay of the colors of someone that is beautiful
He is really old
White beard – red face from too much drinking
The Parson
The good Shepard in the gospel of John
Moral Norm
Member of the Church that he really should be
The Summoner
Diseased face
He is a blackmailer
Very hot complexion
Fire red face
Lecherous
The Wife of Bath
Had 5 husbands
Good sex life in her youth
Sexual wandering
Wealthy
Red stockings
Very nice clothing
Strongly sexual – takes initiative
Does not fit into the typical female stereotype of the time 09/04/2013
Great deal of social climbing
Women
No idealized images of women in the Canterbury tales
III. Satire iThe General Prologue and Canterbury Tales
–standards of judgment in satiric texts: representation of the satiric “moral norm”
–which characters in Chaucer’sGeneral Prologue may best be said to focus such a norm?
–ecclesiastical satire–i.e., satire of the ChurchThe Canterbury Tales
–Chaucer’s satire of secular society
IV. Chaucer’s Irony and Satire in Practice: Examples in The General Prologue
–the Prioress, ll. 118ff
–the Friar, ll. 208ff.
–the Franklin, ll. 333ff
–the Wife of Bath, ll. 457ff
–the Parson: modelled on the parable of the good shepherd in the Gospel of John
–the Summoner, ll. 625ff
th
September 13 , 2013
[email protected]
Office Hours – 11:30­12:30
The Miller’s Prologue and Tale 09/04/2013
1. Functions of this Prologue, and of the Various Tales’ Prologues
–provides transition between tales, in this case the Miller’s and the Knight’s
–introduces and defines their striking contrast
–provides scope for dramatic interaction between the pilgrims, thus enhancing their characterization, and
hence also the frame narrative of the Tales as a whole
–provides scope for the Chaucerian “I,” the general narrator, to comment (as he cannot so readily within a
tale as it is being told by one of the pilgrims)
2. The Miller’s Tale
–literary genre: the “fabliau”
–the fundamental comic contrast between Alisoun’s suitors
–Carpenter/Nicolas: superstition, awe, credulity vs. learned cunning
–farcical consequences vs. “blessed be alway a lewed man / That nought but only his bileve can”
–relation to carnivalesque culture, in Mikhail Bakhtin’s sense
the miller says we shouldn’t look into gods secrets, nor into our wives’
significant because it is the last thing the miller says in his prologue
Carnivalesque Culture: The Middle Ages and Renaissance
On this aspect of Chaucer, see Jon Cooke’s essay in David Aers, ed., Medieval Literature.
1. Basic Definition of “Carnival” in This Sense
–Mikhail Bakhtin’s concept, developed in Rabelais and His World 09/04/2013
–his definition: “the world inside out” reorganized according to laughter
–a pattern of play opposing officialdom, seriousness, ideals, authority, dogma, narrowness
–carnival thus comprises, e.g., ritual spectacles, pageants, comic shows in marketplaces, fairs, comic
verbal compositions, some forms of popular speech
–celebrates temporary liberation from prevailing “truth” and established order, including social rank and
status, etiquette, norms of “decency”
–celebrates becoming, change, renewal
–conduces expression in playful, undefined forms in flux
2. The Carnivalesque Body or “Material Bodily Principle” (Bakhtin)
–earthy, material, and positive as such
–“grotesque realism” in Bakhtin’s phrase
–“degradation” as positive: humanity brought down to earth, and flesh
–carnivalesque focus on material bodily needs and functions
–contrary to images of the body as completed, finished product, self­sufficient
–presents us with “a general drama of bodily life”
3. Bakhtin on Medieval and Renaissance Carnivalesque Laughter
–the fool’s license
–utopian, radical, festive
–“the people’s unofficial truth”
–fear vs. comic grotesquerie
–Roman Saturnalia
The Wife of Bath’s Prologue and Tale 09/04/2013
Comparison – Prologue is 800 + lines
Wife’s Tale is 400 + lines
Miller Prologue – 78 lines
Tale – 700 + lines
Distinct Personality
Rambling
Speech revolves around social status of women and the importance of sex
Philosophy of life, love and sex
Argues for the good of sex
Line 181 – take control, get what you want
She marries old husbands who are rich and give her all the control
Widows were relatively free because they had their own money and their own assets
207
407 –
deceit has been given to women by god kindly
by nature/naturally
Lines 327 –
Freedom
1. The Wife’s Prologue
–the size of her prologue and its implications 09/04/2013
–basic themes of her speech:
a) defence and explanation of her 5 marriages
b) the social status of women
c) the importance of sex
–her philosophy of life, love, and sex: ll. 470ff central
–her own assessment of her nature: ll. 615ff central
–the role of her fifth husband’s book on women and marriage in this prologue
2. The Characterization of the Wife of Bath
–her positive and unfavorable aspects
–how do her own prologue and tale modify the Chaucerian narrator’s account of her in The General
Prologue ?
–how Bakhtinian carnival affects interpretation of this character
Venus and Mars
Combines this sensuality with boldness
She can therefore reverse the gender stereotypes
Insured that she could not withdraw her – chamber of Venus – from
Stars inclined but do not impel
Protects free will
Without free will there is no possibility of sin
Being Gap­toothed – amorous
Physiognomy
Body connected with the self within
Had lots of pull
627 – talks about her appetite 09/04/2013
very much in favor of equal opportunity in seeking other men
male discourse and their relationships with them
695­702
men have been setting the tone for discourse on women
made it to their advantage
portrayal of women has been biased
Eve
According to genesis she is the cause of origin sin
Curse upon eve – women are always to be subordinated to their husbands and always feel pain during
childbirth
Eve and Adam become perfectly accorded
Wife’s character
Likes using power over others
Materialistic – working to get things
She’s a secular figure
Lots of incorrect reference to texts
Memories were used
Not necessarily something negative about her
Accumulates ever greater wealth from each husband
The Amazon – a mythic people who lived in Asia Minor – government controlled by women
Men who were domestic
Influence of mars – highly masculine planet
Unique combination
Virago
Any mention of children is totally absent 09/04/2013
Either she hasn’t had any or she doesn’t care very much about them
Promoter of sex as recreation rather than procreation
Could be seen as strange to many in Chucers context
447 – GP
narrator is somewhat snide about her
nudging allusions to her sex life
she knew much about wandering
indulgence
moral wandering
3. The Wife’s Tale
her choice of tale reflects upon what she thinks is the ideal
reveals a softer side of her – lyrical and romanticized
genre part of her characterization
gets a dig in at the Friar – the one who has made many a marriage at his own expense
limiters are a danger to women
–a brief chivalric romance, a genre of wonder and wish­fulfillment (Arthurian context)
Women are individuals
427
women desire to have sovereignty above their husbands
egress for women
often involves love
typically a happy ending – positive resolution
caused by male attitudes of power
resolution of gender problems in society 09/04/2013
–how her choice of such a tale affects her characterization
–how this tale relates to her concerns about the social status of women
how we act is important, and stutus is not
Christian argument for poverty
Christ was poor
Stoic Classic argument
Desire things you haven’t got, then you are always unsatisfied
You don’t desire things and you don’t have much, but you are satisfied, then you are happier
People should be detached by fortune or the vagaries of fortune
Rely upon things inside them, instead of outside of them
HAPPINESS IS NOT FOUND IN CONSUMPTION
QUALITIES
Faith ­ as she is not beautiful
Foul and old – faithful and pleasing
Young and beautiful – take his chances
1242­42
Do I get mastery from you?
She is both fair and good
Perfect
The ending concludes in a perfect joy – he gives her authority, and in return she obeys his wishes too 09/04/2013
She doesn’t argue the same point, but argues humorously
Dramatic irony? Failed to understand the implications of the tale?
Or being Ironic and Joking
–the tale’s moral content: kindness, consideration, and inner qualities vs. lineage, wealth, beauty, power
(gendered and otherwise)
–“parfit joy” and the nature of happiness in sexual relationships
–how does the wife’s “coda,” her concluding comment, relate or not relate to the ending of her tale?
We women have­­the truth, so help me God­­
In this regard a fancy that is odd;
That which we can't get in an easy way
Is what we'll crave and cry for all the day.
Forbid us something and then we'll desire it,
But press it on us and we'll not require it. 09/04/2013
Sidney’s Defence of Poesy : English 202
I. Cultural Context and General Significance
–sums up much former thinking about literature, c. 1450­1700
–reveals prevalent intellectual assumptions in the early modern West
–literary milieu: see handout provided
–former notions of poetic inspiration: compare PlatIon , handout
II. Sidney’s Treatise
1. Poetry’s Basic Scope, Power, and Types (pp. 74­82)
–its radical originality as source of other disciplines
–Horatian theme of poetry’s delightful teaching
–prophetic aspect of poetry: compare notions of poetic inspiration
–the poet’s godlike power as “maker” another nature
–the poet can create a golden world beyond fallen nature’s brazen reality
–Sidney’s Neoplatonic affinities
–poetry’s resultant power to produce revelatory models for actual life
–relation to sixteenth­century Christian beliefs, such as creation of humanity in the divine image
–poetry’s 3 basic types: 1) divine poetry; 2) philosophical or didactic poetry; 3) the poetry of heightened
nature, considering “what may and should be,” both to delight and teach
–purpose of the third type (focal foDefence ): motivating good action
Enthusiasm – being filled with a God
Pg 74. – wellspring of human knowledge – poetry 09/04/2013
74­75 – Horatian theme of poetry’s delightful teaching
Horatioan view – whatever poem is the most teaching and delightful
76­77 ­ prophetic aspect of poetry: compare notions of poetic inspiration
still depends on inspiration – poet as prophet
doubt and rejection in the period towards literature, because of the concern that poets lied and made things
up
general objection – more constructive endeavors – philosophy, theology
Protestant poetics
Literature was to take inspiration from biblical texts such as the hymns
Writing fictions based on biblical sources – Paradise Lost – Milton
Pg. 77­79
Crux of his argument
78 at the top, ­ by art he means the diciplines of knowledge in general (encompasses science)
Bottom of 78 – world of nature, relatively imperfect, world of the poet, idealized
Really interesting in their scope and breath and application to the literary attitude at that time
The ages of humanity – classical myth – romans
Original Golden age which was prosperous, everything declines
Art is taking us back to these ideals of the Golden Age
Purified images of character
Have no reality
But effectual because they have good messages
Genesis claims that God created the world
Adam knew the image of God 09/04/2013
Highly perfected beings
Fall occurred
The image is damaged
Still exists even though it is damaged
Claims
Poetry can show us what that perfection is
Attune readers better to ideals to perfect by inspiring them to imitate the representations of perfecting
Neo­Platonic Doctrine
Plato on Art
1. The Ideas or Forms
2 things of nature (reflections of the Ideals)
artistic creation ▯
3. art (diminished copy of a copy
II Neoplatonic Artistic Creation
1. The Ideas or Forms
2. art (recourse to the original
3. things of nature (reflections of the Ideas)
artistic creation
complex cultural issues in the development of his particular poetics
ideal of beauty – reflects the forms
forms perfect entities
the artist imitates nature – holds a mirror up to nature 09/04/2013
what we perceive in the form of art, is a reflection of a reflection
photocopy – degradation
art distracts us further with reflections of reflections
art makes it harder for us to discern what reality is
September 25 , 2013
Saint Augustine was deeply interested in Platonic philosophy
Raided for Christian uses
Ideal other realm, this world is an inferior anticipation
They are NOT compatible in other ways
Neo­Platonic Sidney’s Poet does NOT have an inspirational spiritual furor, but with human agency and
control
78­79 “in his own wit
76­77 – Poet is a prophet figure
2. Poetry vs. History and Moral Philosophy (pp. 82­91)
82 – l. 11 –
high perfection
status of the body and the flesh – humble (clay lodging)
pg 83 – 7 and following
poetry among all the learned disciplines (other than theology)
poetry is best suited to the end learning, virtuous learning
motivate good action in the exercise of virtue
–relation to Aristotle’s Poetics
–history limited to presenting particulars, philosophy to generalities 09/04/2013
–poetry uniquely does both, through its interpreted representation of historical or fictional circumstances
–hence superior to both, especially because its delight endues it with further power to move, so its teaching
is uniquely compelling
3. Inventory of Poetry’s Species or Genres (pp. 91­9)
–surveys genres of poetry’s third type
–epic or “the heroical,” particularly useful for this course (pp. 97­8)
lists and discusses the genres of the time
effeminate wantonness
excessive male desire for women
makes men more feminine
September 30 , 2013
4. Objections to Poetry Countered (pp. 99­109)
–why poets are not liars: indirect affirmation, figurative truth
invented untrue story ▯ allows figurative truth
–former importance of fidelity to truth as criterion of value
–rejection of Plato’s criticisms of poetry in the Republic
Not actually Plato’s position
Pg. 108
The people who write hymns to the gods are allowed to stay
Piety
Ion – positive text for poetry
Actually Ironic
Humoring Ion only 09/04/2013
5. Assessment of English Poetry (pp. 110­20)
–enumerates exemplary writers such as Chaucer and Spenser
–considers the drama, invoking Aristotle’s 3 dramatic unities (pg. 113 ­­), and discussing questions of mixed
genre (compare pp. 94, 114)
not necessarily bad – not against it
some people wanted to advocate a fixed genre (no tragedy/comedy)
–importance of the date of Sidney’s treatise (c. 1581)
–advocates potential of English for writing poetry, vs. other languages 119­120
assessment of the languages
fit language for literature
so question as to whether or not English could achieve literary achievement
Italians questioned it
Latin – educated language of all Europe
Everyone could appreciate your work
English, not so much
Seeks to promote English and English literary capabilities
–summarizes his own and others’ principles for advocating poetry and literature, pp. 120­21
English was not being translated into other languages
The Canterbury tales were the only literary work of great interest
The Arcadias – by Sidney were translated into other languages
6. Back to Sidney on Epic: Segue to Spenser (pp. 97­8)
–epic or heroic poetry as poetry’s highest type: widely assumed
–hence thought most to realize poetry’s potential powers
–Sidney’s views and principles of heroic poetry
09/04/2013
September 30 , 2013 09/04/2013
Spenser’s Faerie Queene Book III: English 202
I. Preliminaries
1. Spenser’s Letter to Raleigh Norton , “A Letter of the Authors”)
–originally published with the 1590 edition (Books I­III)
–invokes lineage of heroic poetry: Homer, Virgil, Ariosto, Tasso
–Arthur as central hero, expressing the inclusive virtue of magnificence; the poem’s allegory of
the virtues
–heroes of the individual books (or of the other virtues): Arthurian “subcharacters”
–poetry vs. history: “a pleasing analysis of all” (compare Sidney)
–6 completed books: I/Holiness; II/Temperance; III/Chastity; IV/Friendship; V/Justice;
VI/Courtesy
–I­III published 1590; IV­VI, 1596
–each book has its “titular hero”: e.g., Book III: “The Legend of Britomart, or of Chastity”
Sir Walter Raleigh was a favorite of Queen Elizabeth
Spenser was introduced to the Queen, through Raleigh
Very different Arthurian legends
Creates a biography of Arthur before he became King
Went off into Faerie land to seek the faerie queene
Exemplifies Spensers highly experimental attitude to reading poetry
Invented the Stanza
2. Spenser’s Concept of Chastity 09/04/2013
book for each virtue
each book has a patron knight
Arthur embodies all virtues
Virtue
Temperance
Chastity ­ 1590
Friendship
Justice
Courtesy – 1596
Britomart wants to lose her virginity to the right man
–see handout in “Handouts for SidneyDefence , etc.”
3. The Spenserian Stanza
Spenser as an experimental artist, a literary inventor
Only English poet to have successfully invented a new stanza
Preffered stanza of English romantic poets
4. Spenser and Interlaced Narrative
standard technique from early medieval romance
popular today ­ Tolkien
II.The Faerie Queene III (as Excerpted by Norton in Course Reader) 09/04/2013
1. Proem
–role of Queen Elizabeth and her textual expressions
–her mind as source for paradigm of each Spenserian virtue
stanza five – she has two aspects Elizabeth
Gloriana – queen of fairies
Phoebe – personal
Queen – divine right
Quasi platonic way
Ideally conceived form of his virtue
Inspired by his concept of Elizabeth at her best
2. Canto One
–contains 3 episodes:
a.) meeting and fight of Britomart and Guyon;
b.) appearance and flight of Florimell;
c.) meeting of Redcross and Britomart at Castle Joyous
Three plotlines launched at once
–the first and third thus clarify relations of the correlative virtues
a.) symbolism of the first combat, Guyon/Britomart: self­control
symbolism of the passions
Guyons defeat shows his inability to control them adequately
Britomart appears
Chivalric romance 09/04/2013
Occasion for combat
Quickly took his spear – hasty action
Lots of over hastiness
Inflimation of the pasions
Horses ▯ symbolize the passions
Management of a horse ▯ trope for guidance of the self
–creation of concord, stanza 12
–Britomart’s enchanted spear and Glauce: symbolism
–“Britomart”: implications of the name
Britomart is linked with the moon
Brito Mart
Famous – female Arthur
Hero who never needs to be saved by Arthur
Stanza 46­ full of amiable grace
Inter­gender character
Glauce – name for owl ▯ symbolism for Minerva (goddess of wisdom)
b.) Florimell’s story explores the pursuit of beauty
–symbolism of the forest
fairest dame alive
beauty’s chase
she is named beauty in canto 8 stanza 46
grizzly forester
the knights pursue Florimell in a differnent way
forester – lust
knights – more complex love impulses
Allegory for different impulses in accord with bauty, love, lust 09/04/2013
Plato
Beauty = REFLECTION of the Ideas
Most compelling way the Ideas can be reflected
Plato developed a theory of love that had enormous influence in the renaissance
–differing pursuits of beauty and modes of love: the knights vs. the Foresters
th
October 7 , 2013
–Platonism, beauty, and love; former cultural influence
–representation of beauty’s awe, wonder, elusiveness
Plato describes love as the desire for beauty
Beauty fo all kinds subsumed in Florimell
Beauty ▯ Truth and Goodness
The forester refers to the use of beauty as a source of lust
The description of the forester chasing her
Elizabethan body discourse
Trope
Chasing florimell mounted on this horse – allusion to sexual mounting
Phallic instrument
Parody of sexual intercourse
Satire of the forester
Prime exemplar of beauty
c.) Exercising amorous self­restraint: Castle Joyous
–symbolic alliance of Britomart and Redcross 09/04/2013
–Malecasta’s six champions: travesty of Platonic ladder of love
–Malecasta’s relation to unchastity and infidelity
Each for the courtiers are supposed to develop different aspects of beauty
Form – true reality
Platonic terms – solely sex
Not sex that is wrong, the way it is pursued
Every knight has to give up their lover
Malacastra ­ receives her company in bed (stanza 41)
Lesbian implications
3. Canto Two
–introductory stanzas: women’s deeds and Spenser’s revision of epic
–first episode: Britomart investigates Artegall, tests his reputation (rape is implied, 11­12)
–flashback: origins of Britomart’s love and quest for Artegall
CONSULTATION with Merlin’
Merlin is a trope for Spenser the poet
Creators of remarkable things
Merlin creates a mirror
Britomart looks in and falls in love with this knight
Changes into a heroine
Inspired by Artegall
Trope for the effects of reading on readers
Transformation of the mind
Artegall – Equal to Arthur
Equated to a judge
Half brother to Arthur – Artgallow 09/04/2013
Arms of Achilles
Many other allusions to their similarities
36
limitations of temperance
forms of love
–“Artegall”: significance, role
–stanza 36: limitations of Temperance, visionary aspect of love
4. Canto Three
–myths of British origin and the Tudors: relations to Troy, Rome, epic
–introductory stanzas: Platonism, love, sexual generation, divine providence, and human history
–symbolism of Britomart’s armour
dynastic – royal lineages
based on virgil’s aneid
English represented themselves as a new Rome
5. Canto Five
–Timias’ relationship to Belphoebe: his name, relation to Arthur’s quest, re contemporary standards of male
aspiration
–two complementary allegories: topical relationship of Sir Walter Raleigh and Queen Elizabeth; allegory of
the pursuit of honor
–limitations of the poem’s quests: human relation to moral absolutes
6. Canto Six
–“core canto” concept in The Faerie Queene
–Belphoebe’s (Diana) and Amoret’s (Venus) symbolic origins 09/04/2013
–the Garden of Adonis: a philosophical myth about the generation and regeneration of living things
the foliage on the mount – related to Venus – allusion to pubic hair
His poem has a deep structure to it
Number symbolism
The way in which he includes analogues for parts of the bodies
Bodiness of the forester in canto 1
Stanza 12 – analogue to the penis
Likened to a fountain
Al sorts of love are celebrated
Stanza 45
Venus is the goddess of love and Diana is the goddess of chastity
Diana’s nymphs – perpetual virginity – doesn’t want cupid near them
Venus had a notorious love affair with Mars
Vulcan (God of the Forge) was her husband at the time
Made a net
Shamed them by catching them and showing them to all the other gods
Maybe Cupid is having a love affair with Mars
Cupid and Psyche
Pleasure – (daughter)
A